Pacing might be considered a bit meandering in this film, but the music and subtle but genuine performances and setting feel great. The music of course the film's heart and soul, and it's worth at least one watch simply to enjoy that :-)
This is just a plain old blast to watch. The acting is solid and fun, and the writing, meta-jokes, and unexpected finale (complete with awesome cameo!) are so much fun. Even if you're not a huge horror fan, the way this film addresses pokes at common horror tropes make it enjoyable and accessible.
Mud, along with True Detective S1 and Dallas Buyer's Club of course, somewhat serve as the trifecta of McConaughey's rise in stardom, perhaps capped off most recently with Interstellar. While I've little doubt he's continue to impress, these pieces have all be released/aired close enough together to serve as an easily understandable justification as to why he is such a great contemporary actor. Nichol's direction in this film again captures the unique life and personality of small town living, and perhaps even more so as told through the eyes of the film's adolescent lead.
This is one of my favorite films of the year so far. Alicia Vikander's performance is masterfully nuanced and understated such that empathy is garnered perhaps more so for her character overall than the human co-stars. Domhnall Gleeson continues to impress as does Oscar Isaac, and the scenes in which their personalities play off one another both positively and in nerve-wracking ways are intriguing to watch. I won't spoil anything about the story overall, but you owe it to yourself to watch this sci-fi gem as soon as you can!
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This movie definitely isn't for the faint of heart or the easily offended, especially concerning matters of religion and/or Judeo-Christian stances on the 'end times' or rapture event. What you get, however, if you choose to watch it is another quality comedy from Seth Rogen and Co. in which they play satirical versions of themselves as they try to survive together after the Rapture has occurred. Insanity and whackiness ensues, much to the benefit of the viewer :-P
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Katherine Bigelow's work has seen much attention in recent years, especially due to The Hurt Locker winning best picture at the Oscars a number of years ago. Her expertise with the military/thriller/character study genre continues in Zero Dark Thirty, namely spotlighting the acting prowess (even more so) of Jessica Chastain. I tend to lean towards a stance expressed in prior interviews with Bigelow stating that portrayal doesn't necessarily indicate support. The torture scenes in this film are indeed difficult to watch, but they happened nonetheless. Does that mean the director champions such methods of interrogation? Certainly not, and as ironic as it may sound, Bigelow has firmly identified herself as a pacifist in past interviews. That does not deny her interest or fascination with war and its participants, however, nor developing an artful hand in portraying its many, many facets. She does so with excellent pacing, writing, realism, and acting quality in this film. A definite must watch.
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"Gone Girl" felt like a return to form for David Fincher, and I mean that in an entirely positive way. Sometimes "return to form" might imply a deficit on the part of the creator/auteur, but in this case I refer to Fincher's return to the thriller genre he tends to show great understanding of, such as in Zodiac and Seven. His absence has in no way been due to lack of talent on his part, as his work with The Social Network and tv's House of Cards has been more than solid. Gone Girl's pacing and process of revelation amid twists, turns, and manipulation would grant you forgiveness for forgetting that the film runs nearly two and a half hours, as nearly every scene and moment of dialogue feels purposeful and valuable in explaining the characters and film's mystery to us. Said pacing and tone is subtly but oh so importantly augmented by Trent Reznor and Atticus Ross' haunting score of synth and occasional strings and minimalist percussive beats that occasionally swell to the risk of explosion. Ben Affleck gives us a performance as a man teetering on the knife edge of anger and despair that risks implosion on either side as he investigates the disappearance of his wife, as portrayed by Rosamund Pike. Affleck's character borders on sinking into aggressive madness as the film develops, and all tides seemingly threaten to consume him. Pike's performance is varied and tense in such a manner that the film's tension and mystery during her absence in various scenes is heightened all the more as we see things unravel towards the conclusion. I could easily see an Oscar nomination arising for her due to this role. Neil Patrick Harris and Tyler Perry deliver engaging supportive roles along with Carrie Coon and Kim Dickens. This is certainly a thriller but in more the slow-burn kind of way. We aren't hit an onslaught of revelations, actions, or tension. Rather, the tension develops itself organically and dynamically just on the edge of our minds, almost becoming a separate character in the film. What I felt most prominently in the film is manipulated as a viewer, and I say that as a compliment. We have a natural tendency at times to side with various characters as a story develops, often seeking to identify a clear-cut antagonist and protagonist that we can easily demonize and champion. While I felt my mind and thought process gravitating towards these relatively natural conceptualizations, by the film's end I realized I had been unknowingly and subversively driven out of this process by the film's own machinations and manipulation of its characters. I could in no way cleanly or easily designate the characters' archetypes, despite the dissonance my mind experienced in trying to naturally do so. Gone Girl is easily a firm contender for Oscar acknowledgement between Fincher's direction, Reznor and Ross' score, Pike's acting prowess, and the structure and delivery of the film as a whole. Welcome back, David.
Gaming at home or on the go is great, but there's always something more to be experienced. The Nintendo Network offers plenty of opportunities for added excitement, so pick up a prepaid card and prepare to explore those possibilities.Experience more enjoyable content on your Nintendo systems with this prepaid card for the eShop on the Nintendo Network. Choose from a variety of games, videos and more that download in seconds and can be played or viewed on your Nintendo Wii U or 3DS.
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Best Buy's ongoing availability of store credit for services such as PSN, Xbox Live, and Nintendo eShop is great. Finding these cards in my local store was a breeze and allows for me to consistently have said resources available for enjoying my increasing digital games library across multiple consoles.
Broaden the content you enjoy on your PlayStation system with this convenient $20 PlayStation Network Card. Use the card to purchase downloadable games, game add-ons, full-length movies, TV shows and other content that you can play or view on your PlayStation 4, PlayStation 3 or PS Vita.
This user is a My Best Buy® Elite Member, who has spent $1,500 on eligible purchases and is now getting 1.10 points per dollar. They may have received My Best Buy® bonus points for submitting reviews.
Acquisition and use of these cards is pretty straight forward as far as purchasing them at Best Buy is concerned. I simply write this review to positively comment on their convenience and availability.
Being a gamer who is increasingly becoming more and more open to purchasing my games digitally, indie and AAA alike, the availability of these cards across multiple dollar denominations at stores such as Best Buy has been wonderful.
Most stores such as Best Buy have reward/points programs, and while said rewards tied to the points can be far and few between, it's been great utilizing those rewards to snag $10 or $20 PSN cards like this to pad my game collection or even save some money on more expensive titles.